The new Alcest album is out today and we have received a few requests for the vinyl edition. Stock is not yet available, and has already sold out from the label. We have copies on reserve, as soon as they arrive we will add them to the stock.
CD, Digipack and CD Boxset editions are available (CD & Digi in stock now).
“Les voyages de l’ame” (“The Journeys of the Soul”) is Alcest’s third album and contains the quintessence of the group’s creative work to date. While “Le secret,” the debut EP from 2005, was the key to the world of Alcest, “Les voyages …” unites everything that characterises Alcest in terms of concept and music. While an epic composition such as “La ou naissent les couleurs nouvelles” would have found its place also on “Ecailles de lune,” “Beings of Light” with its blazing character reminds of the ground-breaking “Le secret.” On the other hand, “Autre temps” – the album’s first single to which there is also an impressive and visually stunning video clip – is a prime example for the melodic and catchy side of Alcest that initially came to the fore on the band’s debut album “Souvenirs d’un autre monde.” Something that is common to all of the songs, however, is the predominant feeling of euphoria and bliss, always subtly overshadowed by melancholia and yearning. A feeling akin to that which you experience when you think about the otherworld of Alcest that awaits us all.
Scheduled for a January 9th release in the following formats:
Alcest – Les Voyages de L’Ame (CD)
Alcest – Les Voyages de L’Ame (Digipack)
Alcest – Les Voyages de L’Ame (CD and DVD Artbook)
Alcest – Les Voyages de L’Ame (Vinyl – Black)
Alcest – Les Voyages de L’Ame (Vinyl – White)
Alcest – that is music from another world, a world that is real, but that exists beyond ours and cannot be grasped by our senses. A world where all appearances – trees, glades, streams – emit a pearly light and where a faraway and celestial music fills the air like sweet perfume. A world inhabited by infinitely benevolent and protective beings of light, communicating in a wordless ‘language’ directly from one soul to another. A world where the soul knows neither pain nor sickness nor sorrow, but is filled with a deep peace and an ineffable bliss. A world that lies ‘before’ and ‘after,’ ‘beside’ and ‘behind’ our world and the awareness of which stills mankind’s fears of death.
This world is no dream and no fantasy. Neige, the creative mind of Alcest, knows it – he has experienced it and keeps memories of how it revealed itself to him in the form of esoteric experiences in his early life. Alcest is his medium to come to terms with these memories and to share them with others.
OLD SILVER KEY, the new band born from the hyperactive mind of DRUDKH mainman Roman Sayenko and consisting of four DRUDKH members plus French artist Neige (ALCEST, AMESOEURS) on vocals, named their debut album “Tales of Wanderings”.
- What Once Was And Will Never Happen Again
- November Nights Insomnia
- Cold Spring
- Nineteen Winters Far Away From Home
- Star Catcher
- Burnt Letters
- About Which An Old House Dreams
Here is the OLD SILVER KEY that opens the door into a world of witches, cunning foxes, talking wolves, where a poor farmer’s boy wins the hand of a princess while the prince sulks as a frog. “Tales of Wanderings” take you into the fairy tale world of childhood and logs burning in the fireplace. Yet there is often a twist darker than the stories of the Brothers Grimm to these songs. This comes as no surprise as the mastermind behind the musical tales is Roman Sayenko of DRUDKH. Having explored more progressive ways on their latest output “Handful of Stars” (2010), Roman decided it was time to go even further, but in a new project. In ALCEST singer Neige, the Ukrainian found the perfect collaborator and the OLD SILVER KEY was born. All members of Drudkh gladly joined in the making of “Tales of Wanderings” that only offers a murky glimpse of the Black Metal roots and turns to something warmer and lighter without losing the raw earthen spirit, which the band reluctantly calls Post Rock to give their brainchild a name. Yet OLD SILVER KEY offers something more, which is hard to describe, but takes you on a mental journey full of amazement and wonder. Close your eyes, listen carefully and discover a new side to the Ukrainians!
Review by: Meriel Longmore
Review score: 4/5
The term “Black Metal Art” is thrown around quite a lot, though in the case of SLEEPING PEONIES it is an accurate description in all senses. The band resides in the East of England & consists of one main sole member……a welcome discovery for those looking to find outstanding Black Metal from the UK, as in my case. All elements of “Rose Curl, Sea Swirl” reflect a pensive, expressive and artistic approach; from the dreamy sensitively created atmospheres, nostalgic yet pleasingly melancholic CD artwork, to the beautiful & profound poetic lyrics. SLEEPING PEONIES combines a number of genre styles and influences resulting in an individual and creatively rich sound. It is possible to hear a number of influences throughout the release, however SLEEPING PEONIES has a strongly formed character as their imaginative moniker and track-titles would suggest.
The overall style could be described as a combination of atmospheric ambient Black Metal, Shoegaze, Post-Rock and Dream-Pop. Bands such as ALCEST, BURZUM, early FORGOTTEN WOODS, JOYLESS, LYRINX, ISOLATION, AUSTERE, VELVET CACOON, NUIT NOIRE, WRATH OF THE WEAK, LONESUMMER, TARANTEL, EXPLOSIONS IN THE SKY, & AMESOEURS come to mind while listening. In light of this; supporters of the aforementioned bands would be well-advised to experience “Rose Curl, Sea Swirl” as they would surely enjoy the release greatly. However, SLEEPING PEONIES add other characteristics to this already highly effective art-form. For example; as in the case of NUIT NOIRE, the sound also has unusual punky characteristics especially when it comes to vocal delivery. The vocals may be described as being of the BURZUMic variety; emotionally screamed & reverberated, however, vocally SLEEPING PEONIES also bring to mind Screamo / D.I.Y. Punk bands such as MATHS (UK), ORCHID, & CIRCLE TAKES THE SQUARE. These sort of eccentric details add to the overall atmospheres present & also the ability of the release to transport the imagination to other realms. SLEEPING PEONIES has an adept skill at storytelling & translating memories through both music and lyrics & throughout the release the listener can explore an isolated, beautiful and dream-filled nautical world that VELVET CACOON themselves would be proud of.
This is outsider Black Metal at its best; a warm, bassy, blistering wall-of-sound, interlaced with raw, honest emotion, subtle ambience, atypical varied tempo drumming, epic soaring melodies, somber piano pieces, haunting female vocals and most of all a real sense of artistry, personality & imagination. “Rose Curl, Sea Swirl” consists of seven tracks that are guaranteed to take you on a subconscious journey. Amazing!
Listen to Écailles De Lune (part I).
Released March 29th, we will have copies around the middle of April. We are focusing on getting copies of the Boxset edition and Vinyl. The boxset includes the digipack cd version, postcards and a wallflag featuring the cover artwork. The vinyl edition comes in two colours: Black and Blue (Deep Sea). The boxset is limited to 1000 copies.
TOTALLY UNIQUE TAKE ON BLACK METAL INSPIRED FOLK! SERENE SOUNDCAPES AND MELLOW VOCALS WRAPPED IN DEEPLY MELANCHOLIC SOUND.
Memories live within us all. We dream of our loved ones, of our experiences, and we even dream of dreams and other worlds. When Neige, the mastermind behind ALCEST, is dreaming his dream, the end result is so much more than fitful sleep. He lets us partake of his “Souvenirs d’un autre monde”, of the innocence of childhood, a personal Elysium – and this Elysium is radiant, emerald green, luscious, and all the fresher the deeper you immerse yourself in it. “Écailles de Lune” is different, though, as ALCEST are moulding ambivalences on this album. “This story isn’t really a metaphor of death, as it would seem to be. For me, it is about a man who decides to leave one world for another one, literally. Like a passage to another reality, another state of existence,” Neige says about the album concept. “This time I was especially inspired by the seaside, the energy and the exaltation you can feel when you sit in front of the sea at night. It appears terribly fascinating, full of secrets and scary at the same time.” Stylistically, Neige reverts to the sound of Black Metal that once shaped him: a picture of heart-rending, otherworldly screams, collages filled with passion and sadness, and the characteristic clean vocals. These mellow and ageless voices manage to weave a shroud of sorrow around the album. “Écailles de Lune” is like a dream, a manifesto of transience and human inferiority. For all the changes, Neige has kept all of his trademarks: calm passages, massive slabs of guitars, catchy melodies, and hook-lines going straight to the heart – all this once more delivers a convincing articulation of ALCEST’s unique style. Close your eyes and dream along. This time, melancholy shall propel and unite us. We immerse ourselves once more in fairyland. This time, it doesn’t seem fresh but fallow. Its pallor and its shadows are unfathomable, and it reveals itself to us through our senses. It is always there when we quest for it.
1. Écailles De Lune (Part I) 9:52
2. Écailles De Lune (Part II) 9:48
3. Percées De Lumière 6:38
4. Abysses 1:47
5. Solar Song 5:24
6. Sur L’Océan Couleur De Fer 8:18
Listen to Les Feuilles De L’olivier.
Released March 29th, we will have copies around the middle of April. We are focusing on getting copies of the Art Book edition (see below) and Vinyl. The artbook version presents the album in a 56 page hardcover book with illustrations by Fursy, band photos, a foreword and lyrics (including english translations) and the short film Tir Nan Og on DVD. The artbook is limited to 1000 copies.
Debut album from Les Discrets a shoegaze, post-rock, experimental, acoustic project. the sole musical creation of Fursy Teyssier who also played in Amesoeurs and has created artwork for other bands including, Alcest, Amesoeurs, Arctic Plateau, Agalloch, and Neun Welten.
In the last few years, the French art scene had quite a few surprises in store. In the wake of exceptional bands such as Alcest and Amesoeurs, a new project proceeds to do away with France’s position as exotic outsider. Originating from the same set as the above-mentioned artists, Les Discrets – the solo project of enterprising musician, filmmaker, and painter Fursy Teyssier – continues their tradition. With his debut album “Septembre et ses dernières pensées,” he has created a captivating achievement far beyond a purely musical framework – a fusion of music, film, and painting that results in an oft-attempted, but seldom achieved total work of art. Conceptually dedicated to the trinity of nature, love, and death, even the title of the album (“The Final Thoughts of September”) merges with the predominant undertones. In tracks filled with thoughts of sadness and devotion such as the painfully beautiful “Chanson d’automne,” the French vocals sound restrained and nearly sacral, and the guitars in “Effet de nuit” paint a misty picture of the nightside of nature. Les Discrets weave folkloristic motifs and dabs of post rock into their music in an equally fragile way, but in the end, they are only bound to themselves and to the artistic expression of this profound album. “Septembre et ses dernières pensées” marks a brilliant start for this young project, a piece of art full of evocative power and ruminant depth that breaks fresh ground by combining music with other forms of art. Apart from a regular Digipak CD edition, “Septembre et ses dernières pensées” will also be released as a 56-page art book edition containing numerous illustrations and background information as well as Fursy Teyssier’s award-winning short film “Tir Nan Og”
1. L’envol des corbeaux 1:26
2. L’échappée 4:03
3. Les feuilles de l’olivier 4:36
4. Song for mountains 5:58
5. Sur les quais 3:03
6. Effet de nuit 5:54
7. Septembre et ses dernières pensées 2:28
8. Chanson d’automne 7:39
9. Svipdagr & Freyja 3:58
10. Une matinée d’hiver 4:06
INFLUENCES OF INFINITY by ANTTI KLEMI
Here you have one view to the origins of Circle Of Ouroborus. It’s impossible to say what the other half Rauta would say for himself, but I guess he would accept at least a few of these ten bands.
When people describe our music, usually they say it’s a mix of black metal and “something else”. Well, this playlist is also a mix of black metal and “something else”, although the black metal side is already “something else” in my opinion: all these bands have their own vision and touch, and therefore the main thing isn’t the genre but the originality and the pureness of their creations. This is a collection of the old ones, the new ones and something between, and this list can change from day to day – another allusion to the never-ending destruction and creation of ouroborus, eh?
- Joy Division: Dead Souls
A predictable start? Maybe, but it’s impossible to hide this band’s influence on us. We made a “She’s Lost Control” cover for our “Shores” album, and we haven’t regretted that decision a bit. The hollowness of this band is unique, and this song has also been nicely covered by Nine Inch Nails.
- Alcest: Le Secret
I have always had a soft spot in my heart for black metal bands with a different vocal approach, and Alcest is one of those bands. This Le Secret track combines rawness and dreaminess perfectly.
- Urfaust: Dämmert, Gelähmt Und Mit Scheinbar Erloschenem Geist
Another unique band what comes to vocals – and for about everything else also! The split album between Urfaust and Circle Of Ouroborus was a start of a strong friendship, and I’m always hypnotically amazed and impressed when this duo makes its magic – be it opinions, live rituals or the music itself.
- The Dears: Protest
I don’t care much of the actual band, but this song has drilled its way to my brain. Again very hollow and laconic atmosphere and the play between just few elements works very naturally and easily. Dangerous and depressed.
- Current 93: The Carnival Is Dead And Gone
There can’t be a COO list without C93. David Tibet has charmed me with his apocalyptic neo-folk years before Circle Of Ouroborus, and it was interesting to see how step by step these acoustic elements took space in our music. “All the Pretty Little Horses” is maybe one of the albums in my personal top-5 with its diversity, and here you have one of those catchier and looser tracks from that album.
- Frail: Poisoning the Seed
I just listened to Frail’s “Brilliant Darkness” demo tape and I’m more and more satisfied that there will be a split release with them. If Circle Of Ouroborus is described as “post-punk black metal”, I can’t wonder what Frail would be named! This band can create music that is raw and mellow same time.
- Forgotten Woods: Dimension of the Blackest Dark
And then a black metal classic. I’m just sipping whiskey and listening to “As the Wolves Gather” and it all flows: the natural drums, these smooth riffs and melodies, the screams and growls. Another example how diverse and multileveled Norse black metal was even in the beginning of the 90ies.
- Joose Keskitalo & Kolmas Maailmanpalo: Tule minun luokseni kulta
And then something different. I guess nobody knows this artist outside of Finland but now is your chance. Joose Keskitalo creates very harsh ballads, dirty blues and that famous “something else”. Songs can be tender but they can tell stories about cannibalism same time like this song. A real lo-fi genius.
- Lik: Hate to be Human
If there’s one single song which has influenced on the birth of Circle Of Ouroborus, it’s this song. Although Lik’s debut is already sterling steel material from the start to the end, this ghastly anthem against mankind really stands up from the other songs.
- Vesa-Matti Loiri: Lapin kesä
And I end my journey to home. Vesa-Matti Loiri is a Finnish singer/actor who made four albums full of musical adaptions of Eino Leino’s poems in the 80ies and these songs can be heard as proto neo-folk – or just songs of sorrow, yearning and regret. Like a Finnish state of mind.
Direct link to this Podcast.
Amesoeurs will release the forthcoming album through Code666. Visit their official website.
You can hear samples of the forthcoming Alcest album here.
Fursy (guitarist in Amesoeurs) has a project called Les Discrets, you can learn more here.
Amesoeurs are a reflection of our modern urban world. The endless grey shit stained concrete walked by the comatose masses, littered with needles, whores and bums. The useless working man trying to mask his tears with alcohol and television. Money and disease the duet that rule our world, infect our veins and corrupt our soul.
“Ruines Humaines” is the debut release from AMESOEURS, the reflective project of French master Neige (ALCEST, PESTE NOIRE) and Audrey Sylvain.
Neige was a central reason why the Mortifera album is such an amazing release and the skill he brought to that album is very present here. The music is a mixture of the melancholic ‘black’ metal found in Mortifera and Alcest mixed with strong inspiration from British bands Joy Division and The Cure.
Sad but contemplative, not offering any solutions or judgments, just a frustrated mirror held up to the sprawling city wasteland – but somehow, unintentionally, making it sound quite appealing…
Todestrieb extends our appreciation to Neige and Audrey for the chance to discover more about this exceptional band.
Interview with Neige & Audrey S.
Thanks to Noël Benoit for the translation.
3 January 2007
Did the idea of Amesoeurs (musically / thematically) form before the band itself in 2004? Was it something that has been in your minds for a while, or did something specifically spark it that year?
As for me, the idea of this concept was already in my mind before I met Neige. I wasn’t a musician at the beginning but a dancer. I was evolving around this concept with rock/coldwave/new wave choreographies I used to dance on, which were close to the style performed by Amesoeurs. Amesoeurs helps me complete my feelings through music.
By the same token, Amesoeurs was a concept in the beginning before it became a music. It was an idea born inside me during my childhood. I lived for many years in the countryside and I have never got used to the city. When I was going there, it felt like another planet, both because of the setting and the attitude of the people living in the city. It fascinates me as much as it disgusts me. I’m particularly attracted by the city at night, its atmosphere, its unpredictability, the cold lights from these huge futuristic buildings. For most people, this is totally insignificant but to my eyes, it conveys something romantic in the first sense of the term: an unbelievable setting suitable for delusions, stories and fantasies. The key element that made me transform all this into music was the discovery of new wave and post punk, the perfect soundtrack for this kind of universe.
However, Amesoeurs is not confined into its own concept, we don’t want to become predictable. Thus, I hope we will have a few texts that will deal with other themes compared to those we are used to talk about.
What happened during your first gig, was it a success?
I won’t say our first gig was successful. I only had a month of bass practice and I made a few mistakes here and there ahah. Moreover, we were both sick!
Indeed, this gig was quite mediocre, even if it stays a good moment. We played in front of 30 people and our setlist was really short, that’s why we haven’t enjoyed it properly. It took place in Laudun, a village near Avignon. There were two rock bands after us, nothing groundbreaking.
Do you have other members for playing live?
We are looking for a bassist to complete the line-up but we haven’t received any positive answers for the time being.
Do you have any songs from that time (Summer 2004-April 2005) that have not been recorded (or released)?
Yes, we have a few songs from that time. Some of them have been discarded, we have to work more on the others, but they haven’t been recorded yet.
For the forthcoming album, we will record “Les ruches malades”. This is a song we played during our first gig. We will also record other songs written in 2004 and 2005, which are still uncomplete but we’ll work on them quite soon.
Do you think the sound changed after Fursy left, was he a big aspect of the band?
Fursy is a good friend of mine, we grew up and discovered music together. He knows very well what is Amesoeurs and what it represents, that’s why I regret his departure from the band. Had he lived closer and not been that busy with studies, he would certainly be our live bass player. However, he takes care of the visuals of the band with Isabelle Hanssen, which is by no means insignificant insofar as image is very important to us.
Audrey, have you been involved with any other bands previously or currently? What is special about Amesoeurs that it made you want to start recording?
Amesoeurs is my first band. When I’ve met Neige, I have discovered a sensitivity close to mine, that’s why we’ve decided to work together and that is the reason why I want to keep working and recording with him. I sometimes sing a little for Alcest (on the forthcoming album) and for Valfunde, the solo project of Famine from Peste Noire.
Your photos seem to show you as ghosts among the urban landscape. Somehow in it, but not part of it. Do you feel this way? Do you feel outside the world while being wrapped up in it?
I won’t be playing with Amesoeurs if I didn’t feel outside of this world, but I can’t criticize today’s society in two or three lines. I am aware of the fact that this society enables me to create music and to have enough spare time to satisfy my hobbies. To spit and shit on society when you are well-off is a teenager reflex. However, I’ve always felt ill-at-ease in the city because of this urban landscape that brings to me some existential questions I don’t have any answers to, like the sense of my life or about life in general.
To my eyes, the fact that we tend to make everything esthetic with our music helps us to see things more confidently. I won’t be saying this and I would have a different sensitivity if I wasn’t living in a urban area. In a few years, I will go away from the city and I will move in the North of France. I really prefer the North than the South of France with its landscapes and mentalities etc…
Do you ever think about making a video for the music? How do you imagine an Amesoeurs film would look if you had the freedom to make one?
I would include of lot of dancing, be it pictures or little videos. I would take advantage of the fact that Amesoeurs feels “dancing” to me. We could think about urban landscapes, characters and so on.
We could include pictures of the city at night that we would take from a good distance to display the bluish lights… or lost places, squats, bars, clubs and other filthy and fascinating places. A few portraits too. To put things in a nutshell, I would try to blend beauty and purity with sadness, dirt and violence.
The idea of an Amesoeurs video attracts me a lot. We would take the opportunity to present our visual universe that go hand in hand with our music in an indirect way to materialize and give life to this universe.
The front cover photo by Isabelle Hanssen is of the London underground, have you ever visited here to experience the human rats being herded through the corridors, crowding into trains…?
Not in London, no, but the subway in Paris or Lyon is really a strange experience to me. To each his life, his goal, a place to go and nobody cares about each other. Then, the noise, the never-ending motion, the heat, the stench… It feels horrible to me, it’s a real agression to our senses. To my eyes, the subway is a relevant metaphor of the dehumanization, the anxiety, the stress and the sadness that stem from modern life. There’s a lot of people in the subway packed in a relative intimacy. You are forced to be close to them, to listen to what they say, to feel their smell though we have no connection with them , they go out and you never see them again.
From the outside it seems you play the largest part in the band – vocals, guitar, bass – do you think that’s true? Do you take control over the song writing and lyrics?
I write 90% of the music. However, Audrey sometimes shows up with a riff, like for “Faiblesse des sens” for instance. This song originates from a riff that Audrey wrote, to which I’ve added others to create a whole song. As for the drums, I usually have them in my head but if Winterhalter comes up with a more efficient drum pattern than mine, I don’t mind using his for the song.
The writing process in Amesoeurs is different from my other projects. I sometimes find a bass line first and then complete it with the guitar. The guitar doesn’t necessarily come first. About the texts, Audrey will write most of them on the forthcoming album, I will maybe write just one or two.
Neige, your guitar has a unique and recognizable quality. Which guitarists influenced you as you’ve created this sound?
No band or guitarist have influenced me on a melodic point of view, be it in Alcest or Amesoeurs. With Amesoeurs, it’s more about the way we stage the instruments and rhythms that I’ve been influenced. Joy Division for example, the sound, the atmosphere and the drum patterns that this band uses have left a mark on me.
Where was Ruines Humaines recorded? Are you happy with how everything sounds? How long did it take to complete? Do you think the Summer season had any impact on the sound/emotion?
I’ve recorded this MCD at home, with a 24-track digital recording device. I’m not by any means a sound engineer but the production of this MCD is quite satisfying to me, I’m quite pleased with what I’ve achieved for once!
As usual, I’ve used a lot of time to complete the recording process, 5 or 6 months I guess. Summertime? I rather like it, this season means holidays and spare time to record some material without the anxiety of the studies.
Out of all the projects you’ve been involved with, is this most personal to you? Alcest is your solo work, but Amesoeurs seems more Human, or is that misunderstanding and Alcest is actually a much more personal/deeper work?
Both are profound but I think Alcest is my most personal project, I can’t clearly explain it, it’s really hard to talk about it. The concept of Amesoeurs is more comprehensible and human, it concerns all of us.
What are the current plans with Alcest – still to re-record the EP and work on a new LP?
The Alcest album is almost done. It will be released in 2007 and will be entitled “Souvenirs d’un autre monde”, in English it means “Memories of another world”. This title is to be understood literally and it sums up the whole Alcest concept.
Can you find any redeeming qualities in the Modern world?
The easy access to arts and culture, the comfort of life in the good sense (not the new useless technology toys).
Where are some of your favourite places to be (in the world or just in your city)?
The Frigolet abbey, Bagnols les Bains, the Lozere forests, Brittany…
Quiet at home, or lots of other locations such as Brittany, the Perigord and Auvergne regions in France or Norway, a marvellous country I’ve had the chance to visit.
Do you feel nostalgia for a certain time in history? Do you feel humanity was of a higher quality in previous decades / generations?
I’ve always sucked about historical facts and I don’t feel attracted by another time than mine. Hum… maybe the 19th century. As for mankind’s evolution, I think you’ve always been able to find both great and lousy men, more or less kindly ones. The only difference is that our society, on a technologic level , offers means of destruction that are more efficient than in past times. For example: at war, now you can endanger the whole planet and its inhabitants and not only a handful of men, which is rather frightening.
You say the future album will develop your sound towards something more powerful, electronic, depressive. Will it sound very different to the MCD? Will you be using more/different instruments or changing vocal style?
Yes, the album will be quite different compared to the MCD, but still cold and desperate. Anyway, both black metal tracks of the MCD should have been used for Mortifera. The “real” Amesoeurs has always been rock but since these two songs were on a conceptual and emotional level quite close to Amesoeurs, I’ve decided to use them for the project.
The instruments will stay the same: guitars, bass, drums but we’re going to add a few rhythmic and electronic elements, probably from a drum machine or a sampler that we will mix with real drums. We want to give a genuine new wave touch to the album and create songs that are at the same time sad, violent and dancing.
Amesoeurs will be the soundtrack of deranged and smoky dancefloors.